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After being embraced by the public last year in Athens and Thessaloniki, the fascinating monologue “The Chronicle of a Dyslexic”, based on the multi-award winning autobiographical novel of the same name by Yannis Paschos, returns for a second year at Teatro 104, starting today, Saturday, October 19, and for a limited number of performances (Eumolpidon 41, Athens).
Our hero grows up in a village in the mountains of Epirus. He dreams and discovers the world almost like any child, but an “error” that he carries stigmatizes him, isolates him and at the same time makes him stubborn. Using his unique perspective on things, the humor and love of his people, he faces situations that seem to form the mosaic of a strange and magical world. The child is growing, but how many “mistakes” can fit in a world full of “right” people? Will he be able to conquer the highest peak of his imagination? Will he ever be able to be like everyone else?
The hero is played by Dimitris Mamios, directed by Dino Psychogiou. Dino Psychogiou spoke to us.
The show was successfully staged last year and continues for the second year. Why do you think the public singled you out?
“First of all, this is a separate and very beautiful text. It’s a story that concerns us all. We have all been children and teenagers trying to find a place in the world, to exist. That’s where the show tries to give weight. Each of us has our own stories, anxieties and passions from those years. The monologue is a difficult task, especially for the actor. But here we have one of the most talented actors of his generation giving back. People understand hard work and dedication and reward it.”
How did you come by this particular Yannis Paschos novel and what fascinated you about bringing it to the stage?
“A friend suggested that I read the book at Christmas 22. It hadn’t been published for six months in the literary world and its value was already beginning to be recognized. When I read it, I felt many things. I was moved, disturbed, and most importantly, I laughed a lot. All of this made me believe that it is worth the effort to transfer this story to the theater.”
What were the author’s reactions when watching the performance? Is there greater stress when the author is present?
“Yiannis, from the very beginning, has been tremendously supportive and generous to us. He embraced the effort and was there for us whenever we needed him. I think he was moved and laughed at the show, like most of us. Of course it is a little more difficult to see a text about his life come to life again on stage. Yes, I was very anxious to know if he would like what we were doing. He entrusted us with his work, his creation and a part of himself, and I really wanted to make him white in the face.”
What did you see in Dimitris Mamios and chose him for this specific role?
“Dimitris and I studied together at Veaki Theater School and have been good friends ever since. I always knew that sooner or later we would work together. His energy, his temperament and his talent made me think of him when I read the first pages of the play. In the work we do, it’s very important to work with people with whom you have good communication and trust, otherwise things can get terribly difficult. When, in fact, we are faced with a monologue, the actor carries a very heavy burden. I couldn’t have a better partner.”
If I’m not mistaken, this is the first time that a play has been staged and deals with the issue of dyslexia, which is not only rare. Why do you think you hadn’t been employed before?
“Your question is very interesting. It’s a combination of reasons, I think. I believe that Yannis did not decide to write about dyslexia. Many doctors and/or educators have certainly done this. Here we have a coming-of-age story, where this peculiarity of our hero makes his life a little more adventurous, his relationships more complicated but also tender, and his struggle to maintain himself in an unacceptable society, even greater. Thus, this personal testimony, the honesty and humor that distinguishes it, led us to a text where dyslexia is perhaps not so much the subject, but the vehicle to see the concept of stigma in general, to remember what it was like (and continues to be) be many); the educational system, the Greek province, human relationships and struggles. Furthermore, perhaps a lot of people think that this specific topic doesn’t have that much “juice”. It’s quite specific. Fiction often needs bigger things, drama and tragic endings. Autism, let’s say, is a slightly more tempting topic, because it concerns many more aspects of a person’s existence, it follows them everywhere. If you remove the dyslexic from letters, words and numbers, their specificity will not be as clear. But that’s the power of comedy. A somewhat embarrassing situation that is nothing big or terrible, but it is enough to provide us with some moments of laughter, tenderness and adventure.”
This show is your second work as a director, while you also have studies and experience as an actor. What made you start directing?
“Directing is a deeply communicative job. That’s one of the reasons. You have to live with a lot of people, inspire them and they inspire you and move forward together. I also like the combinability of the theatrical act. From the lights and sets, to the dramaturgy and direction of the actors. The director is the only one who must take care of everything; it’s as if many worlds open up in front of you and you have to get to know them very well. When doing this work I meet fascinating people and learn very interesting things. .”
What are the biggest difficulties an artist faces in Greece in 2024.
“I think a big problem for artists, always, is livelihood. Today, more and more people want to work with art. That’s lucky. But the misfortune is that, with the conditions of supply and demand, it is impossible for all of them to make a living making art. Furthermore, although we are a country with an enormous cultural heritage, the State does not give due importance to the training of artists, nor to the staff and functioning of Organizations. I am not of the opinion that art should be subsidized only by the State and private individuals, but to create a healthy market it is necessary to create operating standards, methods of absorbing resources and professionals and, above all, value education. Unfortunately, almost none of this is done methodically. The other major difficulty is the search for aesthetics and identity. The world is changing rapidly, our employers are many times superior to our analytical abilities and technology, like a flood, is constantly changing our audiovisual media, our speech and our perception. The artist can literally become desperate. What worries the world today? What power does a classic text have? What does avant-garde mean now? That’s why I insist on the same word, for artists but also for people in general: education”.
Performance ID
Text: Yannis Paschos
Directed by: Dinos Psychogios
Played by Dimitris Mamios
Dramatic editing: Eleni Spetsioti
Music: George Christianakis
Scenography – Costumes: Niki Psychogiou
Lighting: Marietta Pavlakis
Assistant Director: Sofia Hatziefthymiadis
Set design assistant: Zoi Kelesi
Photos: Spyros Kourkoulas, Niki Iliopoulou
Trailer: Spyros Kourkoulas
Contact: Iota Dimitriadis
Co-production: O2O AMKE.